One of the most potent things about One. Two. One is not however the fear, the oppression or the societal mores portrayed in the first half of the film, themes that dominate so many critiques of Akbari’s work. It is, rather, the way in which Ava picks herself up, rejects Mani’s attempt at reconciliation and finds new love – in an unexpected place, but firmly on her own terms and while making jokes about her ordeal on the way.